Tirso De Molina Jealous Of Herself

Tirso de Molina's Jealous of Herself (c. 1622-23) is an ingenious comedy of disguise and deception, set in the streets, plazas and fashionable apartments of early 17th-century Madrid.

This collection of essays grew out of a National Endowment for the Humanities Institute directed by Frederick A. de Armas and contains essays by the director, some of the visiting faculty, and the participants. The book seeks to develop the link between mythology and the comedia through a number of approaches, including astrology, cartomancy, pre-Socratic elemental cosmology, iconography, hagiography, metamorphoses, Lacanian psychoanalysis, Jungian principles, the philosophy of Schopenhauer, Santayana's poetics, syncretism, gender studies, and Vedic theories.

The first comprehensive study of Tirso de Molina and his work in English Tirso de Molina (c.1583-c.1648) may not have written El Burlador de Sevilla, but the works of this prolific author, one of the three pillars of Golden Age Spanish theatre, are notable for their erudition, complex characters, and wit. Informed by a multidisciplinary critical perspective, this volume sets Tirso's plays and prose in their social, historical, literary, and cultural contexts. Contributors from the United States, Canada, the United Kingdom, and Spain offer a state of the art in current scholarship, considering such topics as gender, identity, spatiality, material culture, and creative performativity, among others. The first volume in English to provide a richly detailed overview of Tirso's life and work, Tirso de Molina: Interdisciplinary Perspectives from the Twenty-First Century grounds the reader in canonical theories while suggesting new approaches, attuned to contemporary interests, to his legacy.

In this volume, Kathleen Jeffs draws on first-hand experience of the Royal Shakespeare Company's rehearsal room for the 2004-05 Spanish Golden Age season to put forth a collaborative model for translating, rehearsing, and performing Spanish Golden Age drama. Building on the RSC season, the volume offers methodologies for translation and communication that can feed the creative processes of actors and directors, while maintaining an ethos of fidelity with regards to the original texts. It argues that collaboration between academics and theatre practitioners was instrumental in the success of the season and that the work carried out has repercussions for critical debate of Comedia. The volume posits a model for future productions of the Comedia in English, one that recognizes the need for the languages of the scholar and the theatre artist to be made mutually intelligible by the use of collaborative strategies, mediated by a consultant or dramaturg proficient in both tongues. This model applies more generally to theatrical collaborations involving a translator, writer and director, and will be useful for translation and performance processes in any language.

"Explores the theme of jealousy in early modern Spanish literature through the works of Lope de Vega, Cervantes, and Gongora. Using the philosophical frameworks of Vives, Descartes, Freud, and DeSousa, Wagschal proposes that the theme of jealousy offered a means for working through political and cultural problems involving power"--Provided by publisher.

The history of cities is also the history of city squares. The agora, the forum, the piazza, the plaza: All presuppose the idea of a center. It’s a material and mental phenomenon. Literature is an important part of this history, and the interplay between the square as physical space and the square as literature is the topic of this book. This is an encyclopedic book combining an overview of the history of city squares with a plethora of analytical examples of its reflection in literature: Literature uses the city square as a frame; city squares serve as frames for drama; novels and other kinds of literature comment on city squares; city squares are sources of inspiration for all sorts of literary activities. Socrates in the agora, Cicero in the Forum, Calderón in the Plaza Mayor, Corneille in the Place Royale, Richardson in Grosvenor Square, James in Washington Square, Woolf in Bloomsbury Square, Döblin and Gröschner in Alexanderplatz, Rodoreda in Diamond Square in Barcelona, DeLillo in Times Square, Al Aswany in Tahrir Square, the Maidanistas in the Maidan of Kyiv: These are just some of the examples presented and analyzed in this book. The book is of direct interest for researchers, students, and professionals such as architects and urban planners, but it is written in a way that makes it accessible for all readers with an interest in urban culture, architecture, history, literature, and cultural studies.

Science on Stage in Early Modern Spain features essays by leading scholars in the fields of literary studies and the history of science, exploring the relationship between technical innovations and theatrical events that incorporated scientific content into dramatic productions. Focusing on Spanish dramas between 1500 and 1700, through the birth and development of its playhouses and coliseums and the phenomenal success of its major writers, this collection addresses a unique phenomenon through the most popular, versatile, and generous medium of the time. The contributors tackle subjects and disciplines as diverse as alchemy, optics, astronomy, acoustics, geometry, mechanics, and mathematics to reveal how theatre could be used to deploy scientific knowledge. While Science on Stage contributes to cultural and performance studies it also engages with issues of censorship, the effect of the Spanish Inquisition on the circulation of ideas, and the influence of the Eastern traditions in Spain.

This book examines the institutional contexts of dramaturgical practices in the changing political landscape of 20th century Germany. Through wide-ranging case studies, it discusses the way in which operationalised modes of action, legal frameworks and an established profession have shaped dramaturgical practice and thus links to current debates around the “institutional turn” in theatre and performance studies. German theatre represents a rich and well-chosen field as it is here where the role of the dramaturg was first created and where dramaturgy played a significantly politicised role in the changing political systems of the 20th century. The volume represents an important addition to a growing field of work on dramaturgy by contributing to a historical contextualisation of current practice. In doing so, it understands dramaturgy not only as a process which occurs in rehearsal rooms and writers’ studies, but one that has far wider institutional and political implications.